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Fire Records
Bark Psychosis 'Codename:Dustsucker'
£11.99
Fire Records
Bark Psychosis 'Codename:Dustsucker'
£11.99
Vinyl includes DLC, gatefold sleeve, printed inners.
Following the reissue of Hex'in late 2017, Fire Records reissue Bark Psychosis'second studio album ///Codename:Dustsucker'(2004) 'which finds the band in remarkable form' (Pitchfork).
Arriving ten years after the band disbanded, the long-awaited and criminally overlooked follow up brings with it an evolution of their sound.
Their experimentations are layered with blissed out electronics, shoegaze, post-rock and jazz are still at its fore as are Sutton's crystalline vocals. Languid and brooding, the soundscapes are dark and sustained while their 'trademark cocoon of limpid, rippling guitar figures and jazzy adornment is buffeted by sharp leftward turns' (Uncut).
Recorded in Graham Sutton's East London DustSuckerSound studio between 1999 and 2004, it features contributions from Talk Talk sticksman Lee Harris and found drumming'from ex-band member Mark Simnett.
Bark Psychosis'///Codename: Dustsucker' would go on to be their last studio album.
Release Date: 25/05/2018
Following the reissue of Hex'in late 2017, Fire Records reissue Bark Psychosis'second studio album ///Codename:Dustsucker'(2004) 'which finds the band in remarkable form' (Pitchfork).
Arriving ten years after the band disbanded, the long-awaited and criminally overlooked follow up brings with it an evolution of their sound.
Their experimentations are layered with blissed out electronics, shoegaze, post-rock and jazz are still at its fore as are Sutton's crystalline vocals. Languid and brooding, the soundscapes are dark and sustained while their 'trademark cocoon of limpid, rippling guitar figures and jazzy adornment is buffeted by sharp leftward turns' (Uncut).
Recorded in Graham Sutton's East London DustSuckerSound studio between 1999 and 2004, it features contributions from Talk Talk sticksman Lee Harris and found drumming'from ex-band member Mark Simnett.
Bark Psychosis'///Codename: Dustsucker' would go on to be their last studio album.
Release Date: 25/05/2018
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One of Entertainment Weeklies 100 Best Soundtracks Of All Time.
A precursor to Lynch's Twin Peaks and Mulholland Drive, Blue Velvet sets a template for ethereal noir soundtracks in a modern, quite disturbed age. 'The shock of the new fades by definition, but it has hardly done so in the case of Blue Velvet.' Dennis Lim, Salon, 2016
"The haunting soundtrack accompanies the title credits, then weaves through the narrative, accentuating the noir mood of the film." - John Alexander, The British Film Resource
You know that feeling you get when you're shook awake in mid-dream? You were teetering on the ledge of a building, or maybe trying to free a butterfly from a spider web while wearing cricket gloves? Perhaps you're running late for a train and your short cut takes you through a bad part of town, you're being followed but the ever changing reflection in the shop window is a younger you, a healthier person - with a better hairstyle. It's an anxiety thing, an off-kilter almost world, best summed up on the soundtrack for Blue Velvet, David Lynch's 1986 film that nods somnambulantly to the shadowy netherworld of film noir.
Oedipal fantasies, finding a severed ear on your way home, voyeurism, crime and retribution, violence; they're all there in abundance in the movie, a rotten sleazy commercialism set off against a set of strange situations that the edge of the seat is never far away from. And what soundtrack would suit such an experience? Of course a mix of orchestral pieces from composer and conductor Angelo Badalamenti inspired by Shoshtakovich's 15th Symphony (which rumour has it Lynch played onset to create the mood') mixed up with trashy Hammond-led boogie and overblown baroque pop from Roy Orbison and Ketty Lester, suitable for any dive's jukebox.
That awkward mix plays itself out in Isabella Rossellini as Dorothy's rendition of the song Blue Velvet'that melds beautifully and indeed hauntingly into Blue Star', a broken piece of vintage pop. Similarly, the track Going Down To Lincoln'with its narrative audio shtick takes all of the previously-mused elements to create a perfectly disjointed travelogue. The soundtrack album starts with Bernard Hermann-styled Hitchcock-esque strings and violin slashes, which dally before deconstructing the themes and motifs into a disturbing procession that climaxes with Julee Cruise's funereal Mysteries Of Love', a fittingly titled epilogue to an epic that concludes with the hero's true love's reality of a simplistic birdsong dream from earlier in the film.
It's a cyclical trip that feeds directly back to the beginning and, yes, there's that severed ear again, now ant infested laying on the ground, proving that dreams become real, or is it reality that becomes a dream?
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Fire re-issue Bardo Pond's eponymous eighth studio album from 2010, their debut for Fire from way back when. A lysergic brain wrestler in which the Pennsylvanian drone outfit perfect their modal sound. Teasing the artistry of LaMonte Young and Terry Riley into a guitar shaped cauldron, the album's compulsive reverbed guitar shapes slowly simmer behind Isobel Sollenberger's esoteric vocals 'Like hearing a tannoy at a station in the voice of Jesus.' The Quietus.
A claustrophobic stuttering raga interlocks with their psychedelic leanings best exemplified on Cracker Wrist'which sounds like something that's intentionally always just about to happen/and/or spin back in time.
Featuring lengthy fully nurtured play offs between the quintet Bardo Pond'is a heady statement that's like the most wholesome kind of vegan-friendly mushroom trips.
Pitchfork reckons they're 'playing fuzzed out stoner dreams.' Vice's musical brother Noisey likens them to 'Fugazi On Acid.'
Allmusic intervenes with: 'These are epic, soaring psychedelic ambient power-drone rock noise melodies where partially buried, distant female vocals are laced throughout a roaring, murky/sludge guitar soundscape.'
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